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Creative Practice: A New Paradigm for Research in the Humanities

Profile image of Indranil Chakravarty

2021, JSL- Journal of the School of Languages (no. 23), Journal of Jawaharlal Nehru University (JNU, New Delhi)

The paper discusses the ideas that are driving Creative Practice Research as a new approach in the arts where research initiates in practice, moves to theory, criticism and history, and then reverts to practice with insights that can be beneficial to other practitioners in that discipline/area. It elaborates research methodologies, its approach to the creation of new knowledge and the challenges it pose to traditional humanities research within the strictures and structures of universities. The approach is illustrated through the case study of a screenwriting thesis.

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Peter Dallow

Keywords Practise-based research, Creative arts practice, Contemporary arts, Creativeness, Artist researcher, Practitioner-researcher Abstract The investigation of creativeness in the creative arts requires some theoretical originality to enable the development of an effective research method capable of subtly reporting upon original artistic activity. The research endeavour requires something of the tactfulness of the work it seeks to understand. Considered introspection, in the form of practice-based research, into creative arts practice offers the opportunity to try to understand the way an artist engages in an original way with their physical, cultural and psychic raw materials.

creativity in research pdf

Ernest Edmonds

This article explores the subject of practice-based research, its application in the creative arts and its role in generating new forms of knowledge in the context of the PhD. Our aim is to provide more clarity about the nature of practice-based research, the approach we advocate and how it contributes to new knowledge that can be shared and scrutinized in a form that is both accessible and rich in its representation of the full scope of creative arts research. We draw on examples spanning over 35 years of experience in supervising interdisciplinary PhD research programs in the arts, design and digital media.

Kristina Niedderer

International Journal of Art & Design Education

Helen McGilp

HELLO - I HAVE NOTICED A RISE IN DOWNLOADS FOR THIS PAPER RECENTLY. DURING THESE DIFFICULT TIMES - IF YOU ARE STARTING TO RECORD AND EXAMINE YOUR PRACTICE - OR USING THIS AS A TEACHING RESOURCE - I AM HAPPY TO HELP IF YOU HAVE ANY QUERIES - OR IF YOU GET STUCK. LET ME KNOW. A case is made for a form of narrative reporting (the Creative Process Journal) as a methodology for practice-integrated research in the arts. It is argued that this stage of research creativity, which applies in all domains of academic study but is often not reported, is fundamental to the kind of arts research which allocates practice a central role. The practical and technological character of making a CPJ, and its consequent benefits to the maker-researcher are outlined.

Journal of Research Practice

One of the most contested areas of arts practice research concerns the nature and role of writing. For many artist-scholars, research predicated on artistic practice does not require written contextualization. For those who engage in writing, questions as to the nature, mode, register, and purpose of writing abound. The growing body of publications addressing this question illustrates two broad responses. On the one hand, the ethnographic tradition attempts to capture phenomenological aspects of the artistic and reflexive experience. On the other, writing itself is approached as an integral part (a generative strand) of an artist’s creative process. In this article, the development of arts practice research at the Irish World Academy of Music and Dance, University of Limerick, Ireland is reviewed and it serves as a point of departure to discuss an engagement with writing that invites a dialogue between ethnographic and generative approaches, the balance of which is ultimately decide...

The Creative Critic

Emily Orley

Nanna Verhoeff , Iris van der Tuin

This concise, precise, and inclusive dictionary contributes to a growing, transforming, and living research culture within both humanities scholarship and professional practices within the creative sectors. Its format of succinct starting definitions, demonstrations of possible routes of further development, and references to new and revisited concepts as “conceptual invitations” allows readers to quickly uptake and orient themselves within this exciting methodological field for didactic, scholarly and creative use, and as a starting point for further investigation for future contributions to the new canon of critical concepts. Critical Concepts for the Creative Humanities is the first book to outline and define the specific and evolving field of the creative humanities and provides the field’s nascent bibliography.

Insights into academic genres. Berkenkotter, C., Bhatia, V. K. & Gotti, M. (Eds.),

Sue Starfield , Louise Ravelli

In their earliest forms in Europe, the university system provided an important home for creative practice. Here, intellectual activities included the production of music, sculpture, illuminated manuscripts and other creative acts. But this was not sustained: by the birth of the Enlightenment, art had become what the philosopher Alexander Baumgarten termed a ratio inferior, the "science of the sensate", and thus related to logic, but only of an inferior type. The sensate nature of aesthetics so much a part of creative production could not compete, in Enlightenment minds, with the power of "pure" reason. So, from being very much a form of knowledge, art practice became something that existed in the knowledge domain under a sort of erasure: as something that did not really belong. In recent decades, however, artists have been returning to the academy, and have begun to claim the rights of academic citizenship. One effect of this move is the need to demonstrate that ...

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